Another material that shows the situation is the evolutional movements by the players of the traditional Japanese music HOGAKU. Thanks to the new wave of HOGAKU, Toru Takemitsu could seek for his original language which merged the Japanese timbre, time and space with the Western system of music in his famous November Steps for Shakuhachi, Biwa and orchestra(1958)
Minao SHIBATA explored his own way of Japanese composition and aesthetic contemplation supported by such background as mentioned above.
SHIBATA started his career as a member of musicians's group SHINSEIKAI, which was founded in 1946. SHIBATA was one of the first composers who had introduced twelve-tone technique to Japan. Yoshiro Irino and SHIBATA used the term ONSYOKU for timbre as the element of tone in order to distinguish from NE-IRO.
In 1955, SHIBATA composed Musique concrète for stereophonic broadcast with a NHK producer Keiji MASUI and other ten persons. He published a report titled `An Account of Musique Concrète' (ONGAKU-GEIJYUTSU 1956-4, pp.30-35). He was a member of the founders of Music Research Center of Twentieth Century as well as a leading person of NHK electronic studio(1955). He founded a critical magazine titled TRANSONIC(1963-76) with Yuji TAKAHSHI and Toru TAKEMITSU.
SHIBATA explored the feature of Japanese traditional music by scientific way apart from the Wetern theory of pitch and timbre. According to Koji SANO SHIBATA's apprentice period of Western style ended with Consort of Orchestra (1973) and his new style started with a theatre piece for choir, Oiwake-bushi-ko. This piece is based on Japanese folklores and includes a lot of microtonal pitch changes as Japanese timbre.